In the market-place at Sparta there are images of Pythaean Apollo, Artemis, and Latona. This whole place is called _Chorus_, because at the festival of _Gymnopaediae_, to which the Lacedaemonians attach the greatest importance, the lads dance choral dances in honour of Apollo[93]. Gruppe draws attention to the dancing performed in honour of Apollo _Karneios_[94], so also Bekker[95]. Mention may also be made of the Cretan legend of the birth of Zeus which is represented on coins from Tralles; they have the inscription Διὸς γοναί, with Corybantes dancing in honour of the new-born god, and striking their shields[96]. There can be no doubt that _every_ type of dance among the Greeks was in its origin connected with religion; but in the case of some it is evident that they quite lost their religious character. The “Pyrrhic Dance,” which was at one time purely sacred and later lost this character, is an instance[97]. Another is that of the dance called the “Labyrinth,” known also as the “Game of Troy,” and “Ariadne’s Dance[98].” Réville, in referring to it, says that in certain mythologies it has been observed that all the stars move, turning round the earth and following their regular courses. Nothing more is wanted for these movements of the stars to be likened to a rhythmic and complicated dance. The consequence will be a religious dance in honour of the “army of the heavens.” The dance will develop in a manner apparently entangled, but nevertheless methodical. There were several sacred dances having this character of imitation of the movements of the stars; among others, that of the “Labyrinth,” which was danced in Crete and Delos. The labyrinth itself, with its thousand circuits, was a symbol of the starry heaven, and the dance of the same name must have been a sort of animated representation of it[99]. An interesting representation of this dance occurs on an Etruscan Polledrara vase, painted by an Ionian artist, and found in Cyprus, where the dance was at one time performed in Amathus in honour of Aphrodite-Ariadne; according to tradition Theseus led the Attic youths and maidens in this dance[100]. The representation is superbly executed. The connexion of the name of Ariadne with this dance is sufficient to show its originally religious character, and probably it remained so always, theoretically; but even as early as the time of Homer, according to the following account from the _Iliad_, the religious element does not appear prominently: